Perry Hoberman

-> The Sub-Division of the Electric Light, 1996
-> Let*s Make a Monster


Performance- and installation artist

* 1954, Cambridge, Massachusetts [USA]
lives and works in New York [USA]

Perry Hoberman is an performance- and installation artist whose work has been exhibited worldwide. He works with a variety of technologies, ranging from utterly obsolete to seasonably state-of-the-art. He is represented by Postmasters Gallery in New York and currently teaches at the School of Visual Arts New York.

CV | Grants and Awards | Solo Exhibitions | Group Exhibitions | Works | Bibliography | Recommended Links

CV ::

1972 - 1973
Pennsylvania Academy of Art, Philadelphia [USA]

1974 - 1977
Bennington College, Vermont (BA 1977) [USA]

Whitney Museum Independent Study Program, New York [USA]

1981 - 1993
Collaboration with Laurie Anderson

Instructor, San Francisco Art Institute [USA]

1992 - 1994
Adjunct Faculty, Cooper Union, New York [USA]

1993 - 1996
Art Director, Telepresence Research, Portola Valley, Kalifornien [USA]

1996 - 2000
Instructor, MFA Computer Arts, School of Visual Arts, New York [USA]


Grants and Awards ::

Grand Prix, ICC Biennale '99 [J]
Award of Distinction in Interactive Art, Prix Ars Electronica 99 [A]

First Place, art's_edge Multimedia Competition, Western Australian Academy of Performing Arts [AUS]

Design Distinction, I.D. Interactive Media Design Review, New York [USA]
New York Foundation for the Arts (Computer Art) [USA]

Archetype Award for Overall Excellence, Interactive Media Festival Los Angeles [USA]
Artist in Residence, Xerox PARC Pair Project [USA]

New York Foundation for the Arts [USA]

Engelhart Foundation Award [USA]
New York Foundation for the Arts [USA]

National Endowment for the Arts [USA]


Solo Exhibitions ::

"Cathartic User Interface", "Timetable", Postmasters Gallery, New York [USA]

"Faraday's Garden", HTBA Time Base, Kingston-Upon-Hull [GB]

"Systems Maintenance" and "Faraday's Garden", Cornerhouse Gallery, Manchester [GB]
"Lightpools or El Bal del Fanalet", Fundació Joan Miro, Barcelona [E]
"Systems Maintenance" and "Faraday's Garden", Ferens Gallery, Kingston-Upon-Hull [GB]
"Unexpected Obstacles", Mediamuseum, ZKM, Karlsruhe [D]

"Unexpected Obstacles", Otso Gallery, Espoo [FIN]
"Sorry We're Open", Postmasters Gallery, New York [USA]

"Faraday's Islands", Boston University, Massachusetts [USA]

"Bar Code Hotel", Walter Phillips Gallery, Banff Centre for the Arts, Alberta [CDN]

"Zombies, Has-Beens & Excess Baggage", Postmasters Gallery, New York [USA]

"Faraday's Garden", Museum of Contemporary Art, Dayton, Ohio [USA]

"Faraday's Garden", Postmasters Gallery, New York [USA]

"Corporate Entities", Postmasters Gallery, New York [USA]

"Lightleakers", Postmasters Gallery, New York [USA]

"Dead Space/Living Rooms", Capp Street Project, San Francisco [USA]
"Works in 3D (Stereoshadows)", Postmasters Gallery, New York [USA]

"Inside Out", Galerie Pon, Zurich [CH]

"Out of the Picture", Hallwalls, Buffalo, New York [USA]
"Out of the Picture", Wake Forest University Fine Arts Gallery, North Carolina [USA]


Group Exhibitions ::

"Vision Ruhr", Dortmund [D]
"Alien Intelligence", Kiasma, Helsinki [FIN]
"Microwave Festival 2000", Hong Kong [RC]

"Cyber", Lisbon [P]
"Techne", Spazio Oberdan, AIACE, Milan [I]
"Interaction", ICC Bienale 99, NTT InterCommunication Center, Tokyo [J]
"Cyberarts 99", Ars Electronica, Linz [A]
"Beyond Technology", Brooklyn Museum of Art, New York [USA]
European Media Art Festival, Osnabruck [D]
"Perspective", C3, Muscarnok, Budapest [H]

"The Art of the Accident", DEAF98, Rotterdam [NL]
"The Hole", Postmasters Gallery, New York [USA]

"Electra", Henie-Onstad Art Centre, Oslo [N]
"Le laboratoire", Artifices 4, Saint-Denis [F]
"Password: Ferdydurke", Postmasters Gallery, New York [USA]
"Can You Digit", Postmasters Gallery, New York [USA]

DEAF 95, Dutch Electronic Art Festival, Rotterdam [NL]
"Tech Bash", Blasthaus Gallery, San Francisco (with Nick Philip) [USA]
"Arc Gallery", International Media Festival, Los Angeles [USA]

"Cyber Art", Ars Electronica, Linz [A]
"Sound and Motion", Wake Forest University Fine Arts Gallery, North Carolina [USA]
"Resurrections: Objects with New Souls", William Benton Museum, Hartford, Connecticut [USA]
"Benefit Exhibition", Capp Street Project, San Francisco [USA]

"Machine Culture", Siggraph '93, Anaheim, California [USA]
"Perspectives, Proximities, Perceptions", Montage 93, Rochester, New York [USA]

"In Praise of Folly", Kohler Art Center, Sheboygan, Wisconsin [USA]
"Art Show", Siggraph '92, Chicago, Illinois [USA]

The Living Room, San Francisco, California [USA]
"Waterfront Show", Minor Injury, Brooklyn, New York [USA]

Postmasters Gallery, New York [USA]
"Springworks", New York Hall of Science [USA]

Postmasters Gallery, New York [USA]

"Poetic Justice", Ward-Nasse Gallery, New York [USA]

"Art on the Beach", Creative Time, Long Island City, New York [USA]
"Art in the Dark", City Without Walls, Newark, New Jersey [USA]

"The Fairy Tale", Artists Space, New York [USA]
"CinemaObject", The Kitchen at City Gallery, New York [USA]
"Paintings/Objects", Postmasters Gallery, New York [USA]
"TV Generations", Los Angeles Contemporary Exhibitions, Los Angeles, California [USA]

"Between Science & Fiction", Sao Paulo Bienial [BR]
"Biennial Exhibition", Whitney Museum, New York [USA]
"Future Histories: the Impact of Changing Technology", Anderson Gallery, Richmond, Virginia [USA]

"Found Language", Franklin Furnace, New York [USA]
"Science and Prophecy", White Columns, New York [USA]

"Dark Rooms", Artists Space, New York [USA]

"Constructed Color", Hayden Gallery, MIT, Boston, Massachusetts [USA]


Works ::

"Workaholic", 2000 [Installation]
"Cathartic User Interface 2.0", 2000 [Installation]
"ZOMBIAC (Zone Of Monitor-Based Inter-Amnesiac Contact)", 2000 [Installation]
"Timetable", 1999 [Installation]
"Faraday's Garden", 1990-99 [Installation]
"Systems Maintenance", 1998 [Installation]
"Cathartic User Interface 1.0", 1995 [Installation]
"Bar Code Hotel", 1994 [Installation]
"Lightpools o El Ball del Fanalet", [Installation]


Bibliography ::

Levin, Kim : Perry Hoberman, Voice Choices, The Village Voice, February 1, 2000; Haskel, Lisa : The Accidental Tourist, Mute, Issue 13, London, 1999; Morgan Spalter, Anne: The Computer in the Visual Arts, Addison-Wesley, Reading, Mass, 1999; Boutoulle, Myriam: Art et nouvelles technologies: repères, Beaux Arts Magazine, Paris, 1998; Huhtamo, Erkki: Beams of Light in a Virtual Void, article, Artbyte, April-May 1998, Vol. 1 No. 1, New York; Caniglia, Jule: Perry Hoberman, review, Artforum, September 1997; Talasmaa, Paivi [Ed.]: Unexpected Obstacles: The Work of Perry Hoberman, exhibition catalogue, Galleria Otso, Espoo, Finland 1997; Cohen, Mark Francis: Tools of the Trade: Art Sneaks Up on a Handyman's Haunt, The New York Times, May 26, 1996; Christian Enos, Joel: Blasthaus: The Real Deal, MacHome Journal, Illinois, January, 1996; Goodman, Cynthia [Ed.]: infoArt, CD-ROM, Rutt Video Interactive, New York, 1996; Thym, Jolene: Trashin' technology, The Oakland Tribune, CA, September 7, 1995; Snyder, Michael: Naut Humon takes studio to streets,Datebook, The San Francisco Chronicle, Oct. 20, 1994; Judmayer, Irene: Wirklich Wirlkliche Wirklichkeit, Nachrichten, Linz, Austria, June 22, 1994; Westbury, Tim: Bar Code Hotel, catalog essay, Walter Phillips Gallery, Banff, Alberta, Canada, June 1994; Bliss Osborne, Barbara: Write on the Money,The Independent Film and Video Monthly, NY, January/ February 1994; Larish, John: Electronic Still Now- Siggraph, Montage, Everywhere, Advanced Imaging, Melville, NY, September 1993; Boulanger, Luc: Images du Futur: Qui Dit Vrai?,Voir, Montreal, June 17-23, 1993; Johnson, Ken: Perry Hoberman at Postmasters, review, Art in America, NY, October 1992; Higgins, Jim: Kohler finds fool's gold in 'Folly',Milwaukee Sentinel, WI, July 17, 1992; Gerhard, Susan: G-Spot,review, San Francisco Bay Guardian, December 11, 1991; Grove, Nancy: Not So Still Lifes, review, Art & Antiques, NY, October 1990; Smith, Roberta: Perry Hoberman, review, The New York Times, May 18, 1990; Stenber, Wif: Cement Mixer, New York Press, November 3, 1989; Warshawki, Morrie: Bill Obrecht & Perry Hoberman, review, High Performance, Los Angeles, Issue 37, 1987; Harris, Patty: Perry Hoberman, review, 108 East Village Review, NY, September 1986; Hanhardt, John: Re-forming Cinema: Film as Installation, Dark Rooms, Artists Space, NY, January 1985; List, Larry: Found Language, essay, pamphlet, Franklin Furnace, May 1984; Carrol, Noel: Semiotics in 3D, The Village Voice, NY, December 27, 1983; Taylor, Robert: Colorists, dadaists, contrast at MIT gallery, Boston Sunday Globe, March 14, 1982


Recommended Links ::

-> Homepage:

-> Projects, detailed work descriptions:

-> Exhibition "Sorry we're open" at Postmasters Gallery [1997]:

-> Perry Hoberman "Mistakes and Misbehavior: Tantrums in/Tampering with Cyberspace":

-> Perry Hoberman: "Meme und Variationen":

-> Interview: